Home fires - The Textile Museum of Canada launches "Watercolour"

Transcription

January/February
2011
Home fires
2 lighthearted houses
Brand-new bathroom products
Report from Valencia
Including IDC’s Dimensions
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Salone Internazionale del Mobile
Euroluce, International Lighting Exhibition
SaloneUfficio, International Biennial Workspace Exhibition
International Furnishing Accessories Exhibition
SaloneSatellite
Milan Fairgrounds, Rho, 12/17.04.2011
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1-12 12:52 PM
January/February
2011
Official publication of the Interior Designers of Canada
16
25
30
COVER — 20
The award-winning Boheimer residence
outside Winnipeg, designed by
Johanna Hurme and Sasa Radulovic.
Photo by Dan Harper
CONTENTS
FEATURES
DEPARTMENTS
Home Fires
INSIDE — 9
ROOMS WITH A VIEW — 20
Located on an acre of land along the Red
River on the southern outskirts of Winnipeg, a playful family home celebrates the
prairie landscape.
By Rhys Phillips
WHAT’S UP — 10
A LIGHT TOUCH — 25
Architecture firm Reigo and Bauer lightens
and brightens a Toronto semi.
By David Steiner
WHO’S WHO — 35
FOUR FROM THE FLOOR — 30
Inspiring design from a quartet of exhibits
at Feria Habitat Valencia.
By Erin Donnelly
THE GOODS — 16
Bathing beauties
Hot and cold running style.
By Michael Totzke
10
LAST WORD — 38
If these walls could talk
Recreating period wallpaper at Toronto’s
historic Spadina House.
By David Steiner
Following page 14
January/February 2011
VOL.48 NO.1
Anthony
Publisher
Martin Spreer
Editor
Michael Totzke
Deputy Editor
Peter Sobchak
Associate Editors
Janet Collins, David Lasker,
Rhys Phillips, Leslie C. Smith
Contributing Writers
erin Donnelly, David Steiner
Art Director
Lisa Zambri
Advertising Sales
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Jessica Jubb 416-510-5194
Senior Publisher
Tom Arkell
Vice President of Canadian Publishing
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President of Business Information Group
Bruce Creighton
Head Office
519.424.3855
anthonyconcretedesign.com
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of Canadian Interiors and cannot be reproduced without
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For subscription and back issues inquiries please call
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Inside
Old and new
It’s that time of year again: out with the old, in with the new. In keeping with a fresh new start, the two
houses we’re featuring in this issue are up-to-the-minute homes for young families. But in the spirit of
another timeworn phrase – the one warning against throwing the baby out with the bath water – both are
renovations.
First up is the Boheimer residence, located on an acre of land along the Red River on the southern outskirts of Winnipeg (“Rooms
with a view,” page 20). As writer Rhys Phillips explains, “the architects started with a much-altered 1920s house and a thorough
distillation of how the clients and their two young children conduct their lives.” Johanna Horne and Sasa Radulovic stripped the
house down to the foundation, which became the walls of a sunken courtyard, around which were wrapped three new wings. The end
result – a U-shaped structure of open flowing spaces, with views through the house and outside to the river – is, in Phillips’s words,
“a functional yet playful family home intricately suited to its prairie landscape setting.”
As for the second house featured – a semi-detached in midtown Toronto, owned by a couple with a young daughter – the renovation was far less drastic (“A light touch,” page 25). Architects Merike Regio and Stephen Bauer were faced with a shoebox of a house;
the trick was to bring as much sunlight in from its two ends as possible, while avoiding a totally open plan. “Clever placement of
partial walls and floor-to-ceiling millwork on the main floor keep the various spaces distinct and physically separate, “ notes writer
David Steiner. “At certain spots you can see across the length of the floor plate, making the house feel spacious without exposing the
contents of every room.”
For our Last Word, Steiner investigated another residence: Spadina House, one of 10 historic museums operated by the city of
Toronto (“If these walls could talk,” page 38). No renovation here, of course – its lovely, sturdy bones are well protected – but rather
an update of the original restoration, to depict how the house appeared in the 1920s and ’30s. Focussing on the painstaking efforts
that went into recreating the drawing-room wallpaper, Steiner shows how something old – Spadina House – is made new thanks to
something old made anew. c I
Michael Totzke [email protected]
Fonthill Arts &
CrAFts inspired home
$499,000.
Completely renovated from
the ground up with highest quality design,
materials & craftsmanship. A perfect mix
of energy efficient improvements
& carefully selected finishes while
retaining the original 1920’s charm.
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What’s Up
JAN./FEB.
Gold!
At a gala dinner in Toronto
this past November, the Design
Exchange presented its annual
national awards, recognizing
projects that balance function,
aesthetics and economic
success. DXAs were presented
in 12 categories, ranging from
architecture and industrial
design to landscape architecture and visual communication.
The 12 categories include
three devoted to interior
design. In an unusual turn of
events, two companies from
the Interior Design - Commercial category were awarded
Gold; two companies from the
Interior Design - Temporary
category also garnered Gold;
and the Interior Design - Residential category was cancelled
due to poor submissions.
The two Gold Commercial
winners are the Avenue Road
Showroom at 415 Eastern
Avenue, by Yabu Pushelberg;
and Brown Thomas Luxury
Hall, by Burdifilek. The former
is a transformation of an
historic Consumers Gas
building in Toronto into a
contemporary showroom for
furniture retailer Avenue Road.
A glass atrium, which pays
homage to the century-old
structure’s original architectural features, bisects all three
floors, connecting the space so
that every level is visible.
(Judges referred to the project
as “flawless, with seamless
aesthetics.”) The latter is a
space devoted to fine jewelry,
watches and other fine gifts in
the flagship location – in
Dublin, Ireland – of luxury store
Brown Thomas. The perimeter is
sheathed in subtly reflective
dichroic glass, the colour
shifting with light and movement; soft lighting accentuates
a shimmering, gold-hued
iridescence throughout.
The two Gold Temporary
winners are MÜVBOX, by
Aedifica and Sid Lee; and
Ontario Pavilion at the 2010
Vancouver Olympic Games, by
Hariri Pontarini. The former is
a “pop-up” fast-food venue
with a graphically pleasing
exterior. Created out of a
recycled shipping container
and powered by solar energy,
MÜVBOX reinvents the
old-fashioned canteen; vanishing back into its box each
night, it unfolds the next
morning at the touch of a
button into a restaurant with a
full kitchen, counters and
10 CANADIAN INTERIORS January/February 2011
Clockwise from right
Yabu Pushelberg’s Avenue
Road Showroom at
415 Eastern Avenue;
Burdifilek’s Brown Thomas
Luxury Hall; MÜVBOX,
by Aedifica and Sid Lee;
Hariri Pontarini’s Ontario
Pavilion at the Vancouver
Olympic Games.
terrace. The
latter was
designed as
“a physical
and experiential
gateway to
Ontario,”
referencing
Niagara
Falls, one of
the province’s most
recognizable
icons. With
an exterior translucent screen
projecting varying degrees of
visibility, the pavilion prompted visitors to shift their
perception of what defines
transparency.
Burdifilek also won a
Bronze for the Thompson
Sales Centre (Temporary). Two
other firms also took home
Bronze (no Silver awards were
given): Dialogue 38 for Guu
Izakaya restaurant (Commercial); and Munge Leung, for
Pears on the Avenue - Sales
Office (Temporary).
For a listing of all 2010 DXA
winners, visit v2com.biz. An
exhibition is on display at the
DX through Mar. 27.
5.25”
5.2
Head Office and Showroom Location: 170 Esna Park Dr., #7, Markham, ON
(905) 475-5460 • (416) 491-2275 • Out of Town 1-888-PERMAWD
Underground Productions Inc.
1-124 Milner Ave., Toronto, ON M1S 3R2
T 416·289·6649 F 416·289·6641
[email protected]
www.undergroundproductionsinc.com
Client: Permawood
Docket # 11-0000
Date: Jan. 10, 2011
Project: Canadian interiors ad
Size: 7 x 4.875”
UPC: N/A
PLEASE CHECK CAREFULLY BEFORE SIGNING.You are responsible for
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(877) 226-4255
What’s Up
Inscape
comes to
Montreal
Inscape, a leading designer,
manufacturer and distributor
of innovative workplace
solutions, recently opened a
brand-new showroom in
Montreal. “Establishing a
showroom here is an example
of Inscape’s commitment to
developing our business in
this important region of
Canada,” says Craig Dunlop,
Inscape’s executive vice-president of sales and marketing.
“We are very pleased to be
able to support our partners
by increasing our visibility
and presence here.”
The 2,200-square-foot
showroom is located in a
century-old building in
Montreal’s historic district,
home to many design firms.
Wood floors, original steel
beams and brick walls have
been restored to their original
For the
film fan
After 35 years, the Toronto
International Film Festival is
finally providing an opportunity for movie lovers to take
home their TIFF experience
character, providing a unique
backdrop for the contemporary aesthetic of Inscape’s
products.
Low-height panels allow
natural light to flow in from
large windows to permeate
the space, while Inscape’s
Interval post-and-beam
system provides structure and
delineates space within the
showroom. Custom screens
display sketches of the
inspiration for the design of
the company’s Scala and
Planna lines.
The building’s rich, dark
wood beams and brick
contrast with the light natural
maple wood, silver and white
finishes of Inscape products;
peripheral seating adds a
burst of colour. Accessories
include natural wood cut from
Quebec’s plentiful forests.
Above left Custom screens
display sketches of the
inspiration for the design
of Inscape’s Scala and
Planna lines. Above right
Wood floors, original steel
beams and brick walls in the
century-old building have
been lovingly restored.
– thanks to a new store carved
into the corner of the new TIFF
Bell Lightbox on King Street
West. The TIFF Shop was
conceived by J.C. William
Group and created by Marcotte
Design in collaboration with
the festival.
The designers faced a major
challenge, presented as they
were with three walls of
“non-merchandisable” glass.
The solution proved to be bold
10-foot-high freestanding
structures, made of translucent acrylic, along with a
soaring feature wall. These key
features provide a sculptural
vehicle for displaying TIFF
products, from clothing and
accessories to niche books and
DVDs. A palette of subtle greys
and white allows the merchandise to pop; hits of orange –
courtesy of jazzy plastic water
bottles and crisp signage – add
a little zing.
With its focus on both form
and transparency, Marcotte
Design’s store suits the TIFF
Bell Lightbox to a T.
Carved into a corner
of the TIFF Lightbox on
Toronto’s King Street
West, the TIFF Shop
is wrapped in glass on
three sides. A soaring
feature wall and
freestanding acrylic
structures keep it
light and airy.
Open Up
Your Living Space
Let fresh air into your home
without unwelcome insects or glare
of direct sunlight. Designed for
doors, windows and large openings,
Phantom Screens remain out of
sight until you need them.
Green house
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um_cdnint_janfeb:Layout 1
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8:24 AM
Page 1
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AT
Published by Firefly, Eco House is a
book that makes a straightforward
promise: “to explain the principles of
bioclimatic design, to describe the
features that make a house green, and
to show you where and how to get
started on fulfilling your dream.” It not
only keeps its promise, it does so in
the most clear, succinct and illuminating way possible, all within in a
generously illustrated 162 pages –
thanks to author Sergi Costa Duran,
who specializes in environmental
preservation.
The book is divided into three
sections. The first section provides
installation diagrams in the design
phase and key factors for a bioclimatic
design; elegantly rendered, these
diagrams make it easy to understand
everything from heat-recovery ventilation systems to geothermal installations. The second section investigates
measures to consider in the design
phase of the green home: structure and
skin, flooring and woodwork, passive
and active energy strategies, room
climate control, saving water, and
lighting systems. The third section
presents a room-by-room (and into the
garden) plan for a greener house, with
case studies from around the world
– beautifully photographed, with a
short yet informative text.
To top it off, Eco House provides
information on cleaning the home
using fewer chemical products; a
directory of architects and designers;
another directory of manufacturers
and associations; and online resources.
All in all, Eco House is a little green
gem of a book – a valuable resource
vibrantly executed.
Call your local
Authorized Distributor at
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11/10/10 12:31:04 PM
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dimensions
vol.1 2011
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contents/sommaire
departments
On a professional note…
Sur une note professionnelle…
4
5
On your behalf…
En votre nom…
12
13
In conversation with…
14 En conversation avec…
18
19
features
Social media consciousness
Should your company jump on the “bandwidth” wagon?
Est-ce que votre compagnie devrait prendre la voie de la «bande passante»?
Reducing VOCs
Might these dangerous compounds soon be obsolete?
Ces dangereux composés seront-ils un jour désuets?
8
Industry members/Membres de l’industrie
20
dimensions team
idc staff
idc board of management
Publisher:
Susan Wiggins, Executive Director, IDC
[email protected]
Editor:
Penny Tomlin
[email protected]
Susan Wiggins, Executive Director
Sue Gravelle, Director, Professional Development
Julia Salerno, Communications Coordinator
Jenn Taggart, Manager, Marketing
Debora Abreu, Marketing Coordinator
Marc Sintes, Marketing Coordinator
Irma Kemp, Executive Assistant
Editorial Advisory Board
(MB) Heather Anderson
Dimensions is the official magazine of
IDC (Interior Designers of Canada) © 2010
(BC) David Hanson, President
(AB) Donna Assaly, President Elect
(BC) Jenny Mueller-Garbutt, Past President
(MB) Stephen Lamoureux, VP Finance
(ON) David Gibbons, Secretary/Director At Large
(AB) Adele Bonetti, Director
(BC) Ada Bonini, Director
(SK) Aandra Currie Shearer, Director
(ON) Clinton Hummel, Director
(NB) Monique Leger, Director
(NS) Carolyn Wood, Director
(MB) Michelle Du, Director At Large
(NB) Jessica Gozdzierski, Director, Intern/Provisional
(ON) Ron Hughes, Director, Industry
(AB) Janice Smith, Director, Education
(QC) Denis Chouinard, Provisional Director
(ON) Trevor Kruse, IIDEX/NeoCon Canada Liaison
(SK) David Chu
(BC) Kate Holmes
(ON) Ron Hughes
(ON) Johane Lefrançois-Deignan
(NS) Carolyn Maguire
canadian interiors team
Interior Designers of Canada
C536–43 Hanna Avenue
Toronto ON M6K 1X1
t 416.649.4425
tf 877.443.4425
f 416.921.3660
e [email protected]
w idcanada.org
Publisher:
Martin Spreer, Publisher, Canadian Interiors
[email protected]
Deputy Editor:
Peter Sobchak, Canadian Interiors
Art Director:
Lisa Zambri, Canadian Interiors
French translation:
Pierre-Éric Villeneuve
idcanada.org volume 1, 2011
n
dimensions
3
On a professional note…
Collaboration, according to the Oxford English Dictionary, is the art of working jointly (with
someone) especially at literary or artistic production. Something you do every single day. Something
we all do every day. But what impact does that fairly commonplace task have on the education of
future interior designers? How should we prepare future generations of interior designers for the art
of collaboration? Is there a magical formula to get it right?
We were recently invited by the Council for Interior Design Accreditation (CIDA) to participate in a
one-day visioning session on this topic. The purpose was to determine if it is possible to forecast
changes in the way interior design practitioners will collaborate in the future, and if or how they
might work in project teams. Using these predictions, participants then discussed whether it’s
necessary to change the interior design curriculum to prepare graduates for the workforce.
It was a unique way to approach the topic of the future and the conversation among the 15 expert
panelists who were invited to contribute to the dialogue was indeed provocative. In the end CIDA
was extremely pleased with the take-away information from the day.
Our role was as observers, listeners and note takers. In other words, we, David Hanson and Susan
Wiggins, weren’t part of the discussion. Instead, we sat in a room and listened to a fascinating
discussion and dialogue for a day without speaking. We were there to interpret what we heard and
translate the message into a call to action for the future. Apart from a little nail biting in an effort to
resist the temptation to speak up, we managed rather well. In the end, we both concluded that we
took a lot more away from the exercise by listening and thinking than by actively contributing.
So, the discussion the two of us had later that day, as we celebrated CIDA’s 40th anniversary over a
glass of wine, was that while collaboration is absolutely essential in the office and on our projects,
perhaps in the future there needs to be a larger role for thinking independently. Collaboration has
become the mantra of the day. As interior designers you are creating workplaces that encourage
collaboration. Furniture manufacturers have created desks and tables to enable collaboration in
response to this need, this demand. But have we gone too far? Have we allowed enough independent
thinking space? Are we promoting a fair balance?
Having to listen to a discussion for a day without participating is a unique and challenging exercise.
We encourage you to give it a try with your team. Invite half of your group to discuss a workplace,
design challenge, or management topic and ask the other half to just listen, to think about what
they’ve heard and interpret the results. Maybe CIDA is onto something; maybe we were set-up.
Maybe we all need to exercise our quiet mind as part of the collaborative process. n
Da v id Ha n son Pre s id e n t/ Pré sident Susan Wiggins
Executive Director/ Di rect ri ce
Check out IDC’s new website: www.idcanada.org
Your member resource...
4
dimensions
n
volume 1, 2011 idcanada.org
Sur une note professionnelle…
Selon l’Oxford Dictionary, la collaboration est «the art of working jointly (with someone)
especially at literary or artistic production.»Voilà une chose que nous faisons tous les jours. Quel
impact une action aussi habituelle a-t-elle sur l’éducation des futurs designers d’intérieur? Comment
devons-nous préparer les générations de designers d’intérieur du futur à cet art de la collaboration?
Y-a-t-il une formule magique pour bien le faire?
Nous avons récemment été invités par le Council for Interior Design Accreditation (CIDA) à
participer à une session d’une journée consacrée à ce sujet. Le but était de déterminer si les praticiens
du design d’intérieur pouvaient prévoir les changements et les manières de collaborer dans le futur,
essayer de savoir si et comment ils travailleront sur des projets d’équipe. En revoyant ces prédictions,
les participants ont discuté de la nécessité de changer le curriculum du design d’intérieur afin de
préparer les diplômés au marché du travail.
C’était une façon innovatrice de réfléchir à ces questions qui concernent l’avenir, et la conversation
avec les 15 panélistes experts, invités à dialoguer a suscité des débats. En bout de ligne, le CIDA était
satisfait de l’information partagée et recueillie durant la journée.
Nous sommes venus voir, écouter et prendre des notes. En d’autres termes, nous, David Hanson et
Susan Wiggins, sommes restés à l’écart de la discussion, assis silencieusement pour mieux écouter les
échanges et les dialogues les plus stimulants. Nous étions là pour interpréter les choses entendues et
traduire le message livré dans les termes d’une volonté d’agir pour l’avenir. Nous avons aussi souvent
lutté contre la tentation de nous exprimer et nous avons réussi cela admirablement. À la fin de la
journée, nous avons tous les deux conclu que nous avions profité de cet exercice en écoutant et en
réfléchissant davantage qu’en participant aux débats.
Plus tard dans la journée, tandis que nous célébrions le 40e anniversaire du CIDA avec un verre de
vin, notre discussion portait sur le fait que même si la collaboration nous paraissait absolument
essentielle dans les contextes du bureau et de certains projets, il devrait peut-être, dans le futur, y avoir
une plus grande place pour une réflexion plus autonome. La collaboration semble être devenue le
mantra du jour. En tant que designers d’intérieur, vous créez des espaces de travail qui encouragent la
collaboration. Les fabricants de meubles n’ont cessé de créer des tables et des bureaux pour faciliter la
collaboration et satisfaire les demandes et les besoins. Mais sommes-nous allés trop loin? Avons-nous
laissé la place à un espace pour une réflexion plus autonome? Avons-nous fait la promotion d’un plus
juste équilibre?
Écouter des discussions toute la journée, en silence, reste un véritable défi. Nous vous encourageons à
l’essayer avec votre équipe. Demandez à la moitié du groupe de discuter des sujets comme le bureau,
un design qui représente un défi ou des questions d’administration; et demandez à l’autre moitié de
seulement écouter et de réfléchir à ce qu’elle a entendu dans le but d’examiner les résultats. Peut-être
que le CIDA a vu juste; peut-être que nous avons été bernés. Peut-être que nous avons tous besoin
d’exercer cette part plus silencieuse de notre intelligence et de la voir comme une partie du processus
de la collaboration. n
D a v id Ha ns o n P re s ide nt /P r é si de n t Susan Wiggins
E xecutive Director/ Directrice
Visitez le nouveau site Internet des IDC à www.idcanada.org
Une ressource pour les membres
www.idcanada.org volume 1, 2011
n
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5
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SOCIAL MEDIA
consciousness
Should your company jump on the “bandwidth” wagon?
Est-ce que votre compagnie devrait prendre la voie de la «bande passante»?
By L e s l i e C . S mi t h
A
website is a relatively static thing. You can simply
hang it up in the air and leave it there, tweaking it
from time to time for freshness – and to keep your
Google Page ranking trending ever upwards. The same
is true for professional sites like LinkedIn unless, of
course, you are actively job-seeking. But blogs, Twitter
and Facebook are different entities, consuming time and
content voraciously. For this reason alone, many design
companies balk at the idea of setting up their own
social nets.
Alison Logue, of Toronto’s Vitamin-d Design, speaks
for many of her confreres when she says: “I don’t discount
it – it might send someone your way. But for me, it’s all
about people and personal relationships. In terms of
marketing and getting work, that’s not something we’ve
explored – I guess because we haven’t had to.”
Across the city at figure3, however, Caroline Hughes is
more enthusiastic. “Information has to be meaningful, in
the sense that the world of design is changing. How can
we educate our clients, make them more comfortable with
the language and ideas of design?”
Hughes answers her own question by describing the
two-minute video her company just shot for its web
interface, demonstrating the design experience to interested business people. She is also targeting new business,
literally, with a start-up monthly blog on the website of
CanadianBusiness magazine, marketing her firm directly
to the client base she wants to attract. And she claims that
she won’t run dry of content ideas or commitment, unlike
so many other former bloggers.
Her approach would win kudos from New York
social media expert Avi Flombaum, co-founder of
www.designerpages.com, an interactive Twitter site created
to hook up those who seek with those who make home
and office furnishings. Flombaum says that, over time,
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volume 1, 2011
U
n site Internet est un univers relativement statique. Il
est possible de le laisser flotter dans l’air et de le
consulter à l’occasion pour le renouveler, sans
négliger de maintenir votre cote de fréquentation sur
Google à la hausse. La même loi s’applique pour les sites
professionnels comme LinkedIn, à moins que vous soyez
dans un processus actif de recherche d’emploi. Mais les
blogues, les médias sociaux tels que Twitter et Facebook
sont des entités différentes puisqu’ils demandent du temps
et du contenu en abondance. Pour cette seule raison,
plusieurs compagnies de design sont rébarbatives à l’idée
d’instaurer leur propre réseau social sur Internet.
Alison Logue, de la firme Vitamin-d Design à Toronto,
parle pour plusieurs de ses confrères lorsqu’elle affirme: « Je
ne néglige pas ces outils : ils peuvent procurer des clients.
Mais pour moi, il est davantage question des gens et des
relations personnelles. Si on pense au marketing ou encore
au travail que cela rapporte, nous n’avons pas encore
exploré cette alternative, sans doute parce que nous n’avons
pas encore eu besoin de le faire.»
Dans un autre coin de la ville, chez figure3, Caroline
Hughes est toutefois plus enthousiaste: «L’information doit
avoir une signification dans la mesure où le milieu du
design est en changement. Comment pouvons-nous
renseigner nos clients, les rendre plus à l’aise avec le langage
et les idées du design?»
Hughes répond à ses propres questions quand elle
décrit la vidéo de deux minutes que sa compagnie a
produite pour son interface sur le Web et qui informe les
gens d’affaires intéressés à l’expérience du design. Elle est
aussi littéralement à la recherche de nouveaux clients
d’affaires avec son nouveau blogue mensuel sur le site
www.CanadianBusiness.com, qui fait la promotion de sa
firme directement auprès de la clientèle qu’elle souhaite
attirer. Sans mentionner qu’elle est certaine de ne pas
www.idcanada.org
Twitter might prove a useful marketing tool for interior
designers and architects as well. He professes some doubt
as to the marketing effectiveness of LinkedIn, and wonders
if Facebook would provide individual design shops with
the right target audience. But putting up a blog on your
website and running video feeds to sites like Vimeo and
YouTube are two methods he wholeheartedly recommends.
Content-wise, he suggests chronicling the process of
creating a new design, as well as describing projects you’ve
already done. “Explain your methods, your inspiration.
People like to learn how things are made…see into the
minds of experts. It’s a great way to market oneself.”
Flombaum warns, however, one must be aware of the
obligations these media impose. Although technically free
of cost, maintaining a social media presence demands a
dedicated marketer, someone who knows how to craft just
the right message – and do it continually. There is also no
guarantee that such effort will produce new clientele.
“It’s more a case of creating relationships, and seeing
where it goes from there. There’s no easy way to gain new
business via the internet [and] you’ll only get out of it what
you put into it. On the other hand, social media is a
revolution – and you can’t put brakes on a revolution. It’s
up to you to decide what level of involvement you’re
willing to take on.”
Several of his observations were echoed by Canadian
social media strategist Mark Evans, of ME Consulting, at
a recent business conference. “Social media offers a set of
enhanced communications tools,” he said. “It’s nothing
to be scared of but it’s not the Second Coming, either...
You don’t need to use every tool out there simply because
it’s there.”
Evans suggests figuring out which services will work
best for you and your brand. For those who would like to
give blogging a whirl, he recommends they “be judicious
www.idcanada.org
manquer de contenu ou d’engagements, contrairement à
plusieurs autres blogueurs.
Son approche lui rapporterait bien des lauriers, selon
l’expert de ces médias sociaux, Avi Flombaum, établi à
New York et cofondateur de designerpages.com : un site
Twitter interactif créé pour réunir les gens qui recherchent
ou construisent des meubles résidentiels et commerciaux.
Flombaum affirme qu’avec le temps, Twitter sera peut-être
un outil de marketing utile pour les designers d’intérieur et
les architectes. Il a par ailleurs des réserves quant à
l’efficacité de LinkedIn en matière de marketing et il se
demande également si Facebook pourrait offrir des
boutiques individuelles de design avec un public bien
ciblé. Cela dit, le fait d’instaurer un blogue sur votre site
Internet et d’avoir une vidéo sur des sites comme Vimeo et
YouTube sont deux méthodes qu’il recommande sans
aucune hésitation.
Sensible au contenu, Flombaum suggère de faire une
chronique des processus de création d’un nouveau design,
en plus de décrire les projets déjà réalisés. «Expliquez
vos méthodes, votre inspiration. Les gens aiment savoir
comment les choses sont faites. Voyez ce qui préoccupe
les experts. Cela reste une bonne manière de vous mettre
en valeur.»
Il précise cependant qu’il ne faut jamais perdre de vue
les obligations que ces médias imposent. Même s’ils sont
gratuits, y maintenir une présence sociale demande une
implication des agents de marketing, des gens qui savent
comment rendre le bon message et le faire continuellement. Il n’y a pas de garantie que de tels efforts apporteront une nouvelle clientèle.
«Il est davantage question de créer des relations et de
voir ce qui se passera ensuite. Il n’y a pas de façon facile
d’obtenir de nouveaux clients via Internet et vous serez
récompensé selon les efforts fournis. Par ailleurs, les médias
volume 1, 2011
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9
and use smart copywriting techniques. Provide the reader
with real information and entertainment, and only throw
in an understated sales pitch here and there. Talk not just
about products but about larger issues. And latch onto
topical references by keeping your eyes and ears open to
news pieces and hot-button issues.”
Even IDC is picking its way carefully through the new
media windfall. The Association established corporate
Facebook and Twitter accounts last spring. Communications coordinator Julia Salerno says that currently there are
no plans to add a blog to IDC’s newly upgraded website or
a corporate page on LinkedIn.
Salerno says that it took her a little while to get used to
tweeting every day. It also took time to learn how to
employ a different voice and make her microblogs
engaging enough to build a responsive audience. But now
the process has become “habitual.”
Her advice? “Don’t jump right into it: watch what
others are doing, follow them for a while, see if their
choices are right for you. Build followers by making your
content engaging and relevant. Be open and honest. It’s
a great networking tool, but you need to be committed
to it.”
It seems social media is here to stay. And it seems, as
with any new tool, some are bound to love it and adopt it
immediately and wholeheartedly, while others will be more
reserved in their enthusiasm. Regardless of what your
approach is, you can likely count on seeing a growing
number of your colleagues engaging in social media in the
near future. n
Find us on Facebook and follow us on Twitter @idCanadaTweets
Venez nous voir sur Facebook et suivez-nous sur Twitter@idCanadaTweets
10
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volume 1, 2011
sociaux sont une révolution : il est difficile de mettre les
freins à une révolution. Il dépend de vous de décider
jusqu’où vous voulez participer.»
Plusieurs des observations de Flombaum ressemblent à
celles du stratège des médias sociaux canadiens Mark
Evans, de la firme ME Consulting et entendu lors d’une
récente conférence pour les gens d’affaires.
« Le média social offre une gamme d’outils améliorés de
communication, dit-il. Il n’y pas de quoi avoir peur mais
ce n’est pas non plus la venue du Messie. Nul besoin
d’utiliser chaque outil sous prétexte qu’il est disponible et
accessible.»
Evans propose de trouver les services qui seront les plus
adéquats pour vous et votre marque de commerce. Pour
ceux qui veulent donner une chance au blogue, il recommande d’ «être judicieux et d’utiliser des techniques
d’édition intelligentes. Donnez à vos lecteurs de
l’information vraie et divertissante, offrez-leur des occasions de vente, ici et là, sans trop insister. Ne parlez pas
seulement de vos produits mais aussi des questions plus
larges. Ne manquez pas de discuter de références précises
en restant vigilant et à l’affût des questions du jour.»
Même les IDC participent à l’engouement pour ces
nouveaux espaces des médias sociaux. L’association a ouvert
des comptes corporatifs sur Facebook et Twitter au
printemps dernier. La coordonnatrice des communications, Julia Salerno, dit qu’il n’y a pas de projet d’ajout d’un
blogue au nouveau site Internet ou à la page corporative
sur LinkedIn.
Salerno dit qu’elle a mis du temps à s’habituer à
«tweeter » tous les jours. Il a aussi fallu apprendre à utiliser
une autre voix et rendre ses microblogues assez stimulants
pour attirer un public aussi engagé. Tout cela a pris du
temps mais le processus est devenu une «habitude».
Son conseil? Ne faites pas le saut trop rapidement!
Observez ce que font les autres, suivez-les pendant quelque
temps et voyez si cela vous convient. Encouragez les
admirateurs en ayant du contenu stimulant et pertinent.
Soyez ouvert et honnête. C’est un superbe outil de
réseautage qui nécessite votre engagement.”
Il semble que les médias sociaux soient là pour rester.
Comme c’est le cas pour tous les nouveaux outils, il semble
que certains les aimeront et les adopteront sur-le-champ,
tandis que d’autres seront plus réservés ou moins enthousiastes. Peu importe votre approche, vous pouvez certainement compter sur une croissance du nombre de vos
collègues qui participeront aux médias sociaux dans un
futur rapproché. n
www.idcanada.org
On your behalf…
Your Association understands the importance of insurance to the profession of interior design. That’s why
we want to tell you about a valuable benefit of your membership in IDC, a partnership that exists on your
behalf…
It will come as no surprise that there is strength in numbers. This is especially true when seeking competitive rates for insurance coverage. As a group, IDC is able to negotiate a better rate than you would be able to
by yourself. So, whether it’s professional liability, an employee benefit plan, your personal home and
automobile insurance, or health-care and life insurance, you will save money when you take advantage of
IDC’s insurance program. The program is managed by Mumby Insurance Brokers Inc.
When it comes to insurance, we understand that your needs as an interior designer are generally more
complex and time-sensitive than your personal needs. We also feel it’s important that the insurer be
responsive to the individual needs of our members. Often this means developing an insurance policy that
is flexible.
Professional liability coverage is essential for anyone practising interior design. While IDC’s program for
individual designers automatically includes both professional liability and commercial general liability
insurance, corporate applicants have the option of omitting the latter if they have this covered elsewhere.
This option is one of several customizations available to IDC members through Sovereign General, the
program’s insurer. Sovereign is one of Canada’s major insurance companies and is licensed in all 10
provinces and three territories.
When necessary, at the request of Mumby and an IDC client, Sovereign will provide limits or special
accommodation to their insurance coverage such as the one just mentioned. Other examples of
customization include: arranging for increased coverage for a one-day project at a reduced premium;
arranging for discovery period for the insured when selling or closing a business; and arranging an enhanced
Professional Liability Policy for clients who work extensively in the U.S. or outside North America.
We recommend you speak with your broker regarding your specific needs. IDC’s insurance program covers
the minimum requirements set by each province to operate as an interior designer. You may wish to increase
your liability coverage depending on your personal circumstances. Regardless of the insurance coverage you
choose, whether professional liability, an employee benefits plan, or personal insurance, you’ll get the best
value by taking advantage of IDC’s program.
Watch for a member
education campaign
from Mumby scheduled for
launch in fall 2011.
The campaign will feature
enhanced print materials,
website resources,
live seminars and other
tools to ensure members are
aware of the insurance
An important mandate of IDC is to build relationships and alliances with
industry stakeholders. Our goal is to ensure that interior design practitioners
benefit from these relationships and alliances. You can monitor all of our recent
activities through the Association website at www.idcanada.org.
Need us to advocate on your behalf? Let us know. We’re here to help.
benefits available to
them through IDC.
12
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volume 1, 2011 www.idcanada.org
En votre nom…
Votre association comprend l’importance des assurances pour la profession du design d’intérieur.
C’est pourquoi nous tenons à vous informer des avantages importants de votre adhésion aux IDC, un
partenariat qui existe en votre nom.
Cela ne surprendra personne : la force du nombre est une réalité. Cela est particulièrement vrai
lorsqu’on cherche des tarifs compétitifs pour une couverture d’assurance. En tant que groupe, les IDC
sont capables de négocier pour vous les meilleurs tarifs. Qu’il s’agisse de la responsabilité personnelle,
des avantages sociaux d’un employé, des assurances de votre maison ou de votre voiture, de l’assurance
maladie ou de l’assurance vie, vous économiserez en prenant le programme d’assurance des IDC. Le
programme est géré par Mumby Insurance Brokers Inc.
Lorsqu’il est question des assurances, nous comprenons que vos besoins comme designer d’intérieur
sont généralement plus complexes et pressants que vos besoins personnels. Nous sentons aussi qu’il est
important que les assureurs répondent aux besoins individuels de nos membres. Cela veut souvent dire
revendiquer une police d’assurance flexible.
La couverture de la responsabilité professionnelle est essentielle pour quiconque pratique le design
d’intérieur. Tandis que le programme individuel des IDC pour les designers individuels inclut à la fois
et automatiquement les responsabilités professionnelle et commerciale, les proposants corporatifs
peuvent omettre la responsabilité commerciale si cette dernière est assurée ailleurs. Cette option est
l’une parmi les diverses formules offertes aux membres des IDC via le programme de la compagnie
d’assurance Sovereign General. Sovereign est l’une des principales compagnies d’assurances au Canada.
Elle a une licence dans les dix provinces et les trois territoires.
En cas de nécessité, à la demande de Mumby et d’un client des IDC, Sovereign offrira des arrangements spéciaux à leur couverture d’assurance telle que celle mentionnée ci-dessus. D’autres exemples
de formules adaptées à la clientèle incluent: des arrangements pour une couverture rehaussée lors d’un
projet ou événement d’une journée avec une prime d’assurance réduite; des arrangements pour une
période d’essai pour le client assuré au moment de la vente ou de l’achat d’un commerce; et des
arrangements dans le cas d’une police de responsabilité professionnelle améliorée pour les clients qui
travaillent aux États-Unis ou à l’extérieur de l’Amérique du Nord.
Nous vous recommandons de parler avec votre courtier au sujet de vos besoins spécifiques. Le
programme d’assurance des IDC couvre les exigences minimums établies dans chacune des provinces
pour fonctionner en tant que designer d’intérieur. Vous voudrez peut-être augmenter votre couverture
d’assurance responsabilité selon vos circonstances personnelles. Peu importe la couverture d’assurance
que vous choisissez, que ce soit l’assurance de responsabilité professionnelle, celle des avantages sociaux
pour les employés ou une assurance personnelle, vous obtiendrez ce qu’il y a de mieux en tirant profit
du programme offert par les IDC.
Ne manquez pas la
campagne d’information pour
les membres au sujet de
Mumby, qui sera lancée à
l’automne 2011. Cette
campagne offrira des
brochures améliorées, des
Un des mandats les plus importants des IDC est d’établir des relations et des
alliances avec les partenaires de l’industrie. Notre but est de nous assurer que les
praticiens du design d’intérieur profitent de ces relations et de ces alliances. Vous
pouvez suivre nos récentes activités grâce au site Internet de l’association au www.
idcanada.org.
ressources sur Internet, des
séminaires et d’autres outils
pour s’assurer que les
membres soient informés des
avantages d’assurance
disponibles pour eux
Besoin de nous pour faire de la promotion en votre nom? Faites-nous le savoir.
Nous sommes là pour aider.
www.idcanada.org grâce aux IDC.
volume 1, 2011
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reducing VoCs
Might these dangerous compounds soon be obsolete?
Ces dangereux composés seront-ils un jour désuets?
B y H e a th e r M a c Ka y
O
nce accepted as a fact of life, volatile organic
compounds (VOCs) could be on a fast track to
obsolescence as new products and materials break
into the old solvent-based market. VOCs, a standard
component of widely used paints, finishes, adhesives,
sealants and coatings, join in photochemical reactions to
form dangerous particulate matter and ground-level ozone
that are linked to serious health problems.
Environment Canada is currently developing federal
guidelines to control VOC emissions from consumer and
commercial products. A 2010 department discussion
paper associates VOCs with “thousands of premature
deaths, hospital admissions and emergency room visits
every year,” along with increased rates of lung cancer and
heart disease. For interior designers, the warnings are not
new, but the range of alternative products is growing
rapidly.
Adolfo Silva, LEED AP and principal with Ecovert
Sustainability Consultants in Toronto, says he approaches
projects as a “practical end-user.” The former facility
manager uses this tactic to guide his nearly four-year-old
company.
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volume 1, 2011
M
ême s’ils sont acceptés comme une réalité de la vie,
les composés organiques volatils (COV) pourraient bientôt devenir désuets, car les nouveaux
produits et matériaux intègrent le marché des produits à
base de solvant. Les COV, qu’on retrouve dans la peinture
usagée, les finis, adhésifs, obturants et revêtements
standards largement utilisés, s’associent aux réactions
photochimiques pour former une particule dangereuse
d’ozone troposphérique, élément lié à des problèmes de
santé sérieux.
Environnement Canada est en train de développer des
consignes fédérales pour mieux contrôler les émissions de
COV des produits de consommation et commerciaux. Un
article du département publié en 2010 associe les COV
avec «les milliers de morts prématurées, les admissions dans
les hôpitaux et les fréquentations de salles d’urgence
annuellement», sans oublier la hausse des ratios de cancer
du poumon et des maladies du cœur. Pour les designers
d’intérieur, ces avertissements ne sont en rien une nouveauté, mais la variété des produits alternatifs augmente
rapidement.
Adolfo Silva, LEED AP et président chez Ecovert
Sustainability Consultants, à Toronto, dit qu’il voit les
www.idcanada.org
“It’s a really dynamic time in the sustainability field,”
says Silva. In the last eight to 10 months alone, he says, the
number of clients seeking carbon-footprint analysis, for
example, has ballooned. “It is real change.” The flood of
reduced VOC products is more proof that sustainability
efforts are having an impact.
Eco-House, a manufacturer of environmentally
responsible paints and finishes, based in Fredericton, began
importing wood finishes from Europe in the 1980s and
developing its own fine-art materials, aimed partly at
increasing paint longevity for mural artists. Today the
company’s silicate dispersion paint is used in interior and
exterior applications across North America, from parking
garages to housing. It was recently used to coat Ontario’s
Warkworth Institution, the largest federal correctional
facility in Canada.
Made of quartz sand, potash, limestone, dolomite,
soapstone, china clay and water, it’s not unlike paints that
have been used around the world for centuries. EcoHouse’s Elizabeth Richards acknowledges that niche
markets still form a large part of her customer base. Her
paint is huge in straw-bale construction. “It’s a critical part
of how these buildings function and remain healthy,” she
says. But it is also gaining ground in larger developments
where product longevity is becoming more important in
early-stage budgeting.
Adam Stoker, project principal with Enermodal
Engineering in Calgary, credits LEED and its incredible
growth for making sustainability measurable. One
component of LEED, he points out, is “looking at and
understanding the chemicals introduced to the interior
environment,” and now people have targets to shoot for.
“So far, the industry has done a really good job of
picking it up and running with it. It’s a real success story,”
says Stoker. Although VOC reduction is largely marketdriven, there appears to be widespread industry support
for more stringent regulations. Current Canadian
guidelines lag behind those in other jurisdictions, notably
California and other parts of the United States.
Working with new products involves the same
concerns as working within sustainable design generally.
Mock-ups and test installations are common. Stoker
advises interior designers to build up their comfort level
with low- and no-VOC products, which are evolving. He
adds that manufacturers are careful to note when these
products require certain substrates or other specific
conditions.
Sjoerd Bros is vice-president of Sansin Corp., a
25-year-old, self-described boutique manufacturing
company based in Strathroy, Ont., that produces wood
finishes, stains and paints. With DIY representing about
www.idcanada.org
projets comme des «utilisateurs finaux pratiques». L’ancien
gestionnaire du bâtiment utilise cette tactique pour guider
sa compagnie, fondée il y a quatre ans.
«C’est une période dynamique dans le champ du
développement durable», dit Silva. Par exemple, dans les
derniers huit à dix mois seulement, le nombre de clients
qui recherchent des analyses d’empreinte de carbone a
explosé. «C’est un réel changement.» L’abondance de
produits contenant moins de COV reste une preuve
supplémentaire que les efforts de développement durable
ont un impact.
Eco-House, un fabricant de peinture et de finis engagé
dans la protection de l’environnement et basé à Fredericton, au Nouveau-Brunswick, a commencé à importer des
finis de bois d’Europe dans les années 80, en plus de
développer ses matériaux d’art dans le but d’augmenter la
longévité de la peinture pour les artistes de murales. De nos
jours, la peinture à pulvériser aux silicates est utilisée pour
les applications à l’extérieur comme à l’intérieur, partout
en Amérique du Nord, des espaces de stationnement
jusqu’aux maisons. On l’a même récemment utilisée pour
peindre la Warkworth Institution, en Ontario, le plus vaste
établissement correctionnel au Canada.
Fait avec du sable de quartz, de la potasse, du calcaire,
de la dolomie, de la stéatite, du kaolin et de l’eau, ce
produit n’est pas si différent des peintures utilisées partout
dans le monde depuis des siècles. Elizabeth Richards, chez
Eco-house, admet que le marché de niche constitue
toujours la majorité de ses clients. Sa peinture est en
demande pour les constructions en ballots de paille. «Elle a
une place importante dans la manière dont ces immeubles
restent fonctionnels et sains», dit-elle. Ces peintures sont
aussi de plus en plus populaires dans les développements
plus larges, où la longévité des produits devient plus
importante dans les premières étapes budgétaires.
Adam Stoker, directeur de projet chez Enermodal
Engineering, à Calgary, croit que grâce à LEED et à sa
croissance incroyable, le développement durable est
désormais mesurable. Une des composantes de LEED,
dit-il, est le simple fait de «regarder et comprendre
les produits chimiques qui sont introduits dans
l’environnement».Les gens ont désormais des objectifs
en vue.
«Jusqu’ici, l’industrie a fait un travail remarquable pour
composer avec ce facteur et l’adopter. Cela reste le récit
d’une réussite», dit Stoker. Même si la réduction des COV
est largement dominée par les marchés, il semble y avoir
un soutien global de l’industrie pour des réglementations
plus fermes. Les normes canadiennes actuelles sont moins
d’avant-garde que celles d’autres juridictions, notamment
en Californie ou dans certaines régions des États-Unis.
volume 1, 2011
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The flood of reduced VOC products is more proof that
sustainability efforts are having an impact.
L’abondance de produits contenant moins de COV
reste une preuve supplémentaire que les efforts
de développement durable ont un impact.
half of its business, Sansin has grown mainly by word of
mouth, both at home and in Europe. “Timing’s really been
on our side,” says Bros. “Consumers are wiser these days.”
Sansin’s water-borne alkyd formula means VOCs are
reduced almost to zero. “These days there are no real
benefits to having VOCs,” according to Bros, as low- and
no-VOC products consistently outperform outmoded
chemical concoctions.
Even companies that introduced a green product line
are beginning to realize it no longer makes sense to
manufacture two separate streams and are choosing to go
with where the market is headed. The “premium” label is
slowly disappearing. “We’ll see prices normalizing,” says
Ecovert’s Silva.
Interior designers across the country are leading the
way in reducing VOC emissions in interior environments.
The increasing numbers of LEED accredited professionals
and LEED certified buildings are testament to this fact. So
too are the increased demand by clients to reduce or
eliminate VOCs and the increased number of eco-friendly
products on the market. The reason is simple. Interior
designers are by nature more cognizant of the sensory
aspects of space. So, switching to planet-friendly paints
and finishes is an easy transition. “They have a natural
understanding of it,” says Silva. “It’s inherent in what
they do.” n
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Le fait de travailler avec des nouveaux produits nécessite
les mêmes préoccupations que de travailler avec un design
durable de manière générale. Les factices et les tests
d’installation sont d’usage. Stoker suggère aux designers
d’intérieur de trouver leur zone de confort avec ces
produits. Les produits sans ou à faible émission de COV
sont en évolution et, selon lui, «les fabricants sont attentifs
lorsque ces produits demandent certains substrats ou autres
conditions spécifiques.»
Sjoerd Bros est le vice-président de Sansin Corp., une
compagnie de fabrication dans les affaires depuis 25 ans
et basé à Strathroy, en Ontario. Cette boutique fabrique
des finis de bois, des teintures et des peintures. Avec DIY
(l’alternative Do-It-Yourself) qui représente approximativement la moitié de ses affaires, Sansin a fait sa réputation
grâce au bouche à oreille, ici comme en Europe. «Le timing
nous a été favorable, dit Brod, les consommateurs sont plus
perspicaces de nos jours.»
La formule à base d’eau, alkyd, de Sansin, signifie que
les COV sont pratiquement réduits au degré zéro. «Il n’y a
pas d’avantage réel aux COV, selon Bros, puisque les
produits sans ou à faible émission de COV sont plus
performants que les concoctions chimiques les plus
démodées.»
Même les compagnies qui ont introduit des lignes de
produits durables commencent à réaliser que cela ne fait
plus aucun sens de fabriquer deux courants de produits
différents, et préfèrent suivre les tendances actuelles du
marché. La marque «premium» disparaît tranquillement.
«Nous verrons une normalisation des prix», précise Silva,
de la compagnie Ecovert.
Les designers d’intérieur de partout au Canada sont des
leaders dans cette volonté de réduire les émissions de COV
dans les environnements intérieurs. L’augmentation des
nombres de professionnels accrédités LEED et les
immeubles ayant la certification LEED en sont la preuve,
comme le sont les demandes des clients pour réduire ou
éliminer les émissions de COV et le nombre grandissant de
produits durables et écologiques disponibles sur le marché.
La raison est simple. Les designers d’intérieur sont
fondamentalement plus soucieux des aspects sensoriels de
l’espace. Ainsi, faire le passage à des peintures et des finis
respectueux de la planète demeure une transition facile.
«Les designers d’intérieur ont une compréhension naturelle
de cela, dit Silva, cela est inhérent à ce qu’ils font.» n
www.idcanada.org
in conversation with…
Jaclyn Gauley and Nicole Gomes are a remarkable design duo
B y J u l i a S a l e rn o
Jaclyn Gauley and Nicole Gomes joke that they come as a package deal. So, when the recent
graduates and good friends landed a job at the same Vancouver-based design firm, they knew better
than to consider it coincidence.
The pair met while attending Kwantlen University’s Bachelor of Interior Design program in British
Columbia, where they hit it off right away. “The four-year program was intimate in scale, with only
10 students, which allowed for a high degree of interaction,” says Nicole.
Name: Jaclyn Gauley
Age: 28 (for the fifth year
in a row)
Years since graduation:
Less than one
Jobs since graduation: One
Favourite design tool:
Trace paper, fineliners
and AutoCAD
Least favourite tool:
Rendering markers
“We lived together for the last two years of school,” says Jaclyn. “Shortly after becoming roommates
we were awarded dual stipends to attend an annual lighting conference in Mexico. We were the first
two Kwantlen students to receive that award.” And so began their shared journey.
After graduation, they both applied for the same position at Bob’s Your Uncle Design Ltd. (BYU). “It
came down to the two of us out of more than 45 other applicants,” says Jaclyn, who was hired for the
original position because of her LEED accreditation. “BYU didn’t want to miss the opportunity to
hire both of us, so they created a second position for Nicole.”
Of their experience at BYU, Jaclyn says, “We get the chance to assist intermediate staff with everything from concept development to completing working drawings. Junior designers often don’t get a
chance to be involved in every phase of a project. We feel very fortunate.”
Their advice to other young designers is to take every opportunity to interact with the local design
community. “The connections and networks formed with other designers create a platform for
individual and collective growth,” says Nicole.
Although the friends share many of the same passions, they have very separate design interests. “I
developed an interest in community and public spaces,” says Nicole. “I like to challenge space and
look for new opportunities to express how we relate to one another in space to strengthen social
interaction.” Jaclyn’s interests are in residential design, with a focus on urban density, aging in place,
and building liveable communities.
In the next five years Jaclyn hopes to have a good mix of projects under her belt and be a fully
qualified interior designer. Nicole’s plans are to return to school in the near future to obtain a master’s
degree. Both plan to write their NCIDQ (National Council for Interior Design Qualification) exam
within the next three years.
Name: Nicole Gomes
“The design world must have big plans for us together!” say the friends. “We seem to come as a
package deal.” n
Age: 26
Years since graduation:
Less than one
Jobs since graduation: One
Favourite design tool:
SketchUp, Photoshop,
and AutoCAD
“the connections and networks formed with other designers create a
platform for individual and collective growth,”
Least favourite tool:
Foam Core
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volume 1, 2011
www.idcanada.org
en conversation avec…
Jaclyn Gauley et Nicole Gomes forment un duo remarquable dans le milieu du design
Par J u l i a S al e rn o
Jaclyn Gauley et Nicole Gomes ironisent sur le fait qu’elles forment une paire gagnante. Lorsque ces
deux diplômées et amies ont obtenu un emploi dans la même firme de design, à Vancouver, elles ont
bien vu qu’il y avait là plus qu’une simple coïncidence.
Elles se sont rencontrées lors de leurs études de baccalauréat au programme de design d’intérieur de
l’Université Kwantlen, en Colombie-Britannique, où elles sont devenues des amies immédiatement. «Le
programme de quatre ans était très intime, avec seulement dix étudiants, ce qui a permis rapidement un
haut niveau d’échanges», dit Nicole.
«Nous avons habité ensemble pendant les deux dernières années du programme, dit Jaclyn. Peu de temps
après être devenues colocataires, nous avons obtenu une bourse pour participer à la conférence annuelle
sur le luminaire au Mexique. Nous étions les deux premières parmi tous les étudiants de Kwantlen à
recevoir un tel prix.» Ainsi a débuté leur parcours commun.
Nom : Jaclyn Gaul
Après la graduation, elles ont toutes deux soumis leur candidature pour le même emploi chez Bob’s Your
Uncle Design Ltd. (BYU). «Nous avons été les deux seules candidates retenues sur plus de 45 candidats»
dit Jaclyn, qui a été engagée pour le poste ouvert en raison de son accréditation LEED. BYU ne voulait
pas manquer cette occasion de nous engager toutes les deux. Ils ont donc créé un autre poste pour
Nicole.»
Années de pratique
depuis la graduation :
moins d’un an
Quand elle parle de leur expérience chez BYU, Jaclyn dit : «Nous avons eu l’occasion d’aider les
employés intermédiaires dans leurs tâches les plus variées, allant du développement de concepts jusqu’à la
finalisation des dessins. Les designers juniors ont souvent la chance d’être impliqués dans chacune des
étapes d’un projet. Nous nous sentons très privilégiées.»
Outils de design de
prédilection : Trace paper,
fineliners et AutoCAD
Elles recommandent aux jeunes designers de tirer profit de toutes les opportunités d’échanges avec les
communautés de design locales. «Les contacts et les réseautages que l’on forme avec d’autres designers
créent une plateforme pour la croissance individuelle et collective», dit Nicole.
Âge : 28 (depuis les cinq
dernières années)
Emplois depuis la
graduation : Un
Outil de design le moins
apprécié : Rendering
markers
Même si ces deux amies partagent des passions communes, leurs intérêts en ce qui a trait au design sont
différents. «J’ai développé un intérêt pour les espaces communautaires et publics, dit Nicole. J’aime
mettre les espaces au défi et chercher des occasions nouvelles d’exprimer comment nous sommes en
relation les uns avec les autres, dans l’espace, afin de favoriser l’interaction sociale.» Les intérêts de Jaclyn
se situent plutôt dans le design résidentiel, avec une spécialisation dans les domaines de la densité
urbaine, des questions touchant le vieillissement et les relations à l’espace et de la construction de
communautés où il fait bon vivre.
Dans les cinq prochaines années, Jaclyn espère avoir travaillé à des projets variés pour son portfolio et
souhaite être une designer d’intérieur qualifiée. Nicole a l’intention de retourner aux études dans un futur
rapproché, dans le but d’obtenir un diplôme de maîtrise. Les deux veulent aussi réussir l’examen du
NCIDQ (National Council for Interior Design Qualification) dans les trois prochaines années. n
«les contacts et les réseautages que l’on forme avec d’autres designers
créent une plateforme pour la croissance individuelle et collective.»
Nom : Nicole Gomes
Âge : 26 ans
Années de pratique
depuis la graduation :
moins d’un an
Emplois depuis la
graduation : Un
Outils de design de
prédilection : SketchUp,
Photoshop, et AutoCAD
Outil de design le moins
apprécié : Foam Core
www.idcanada.org
volume 1, 2011
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19
industry members*
Membres de l’industrie
With thanks to our industry members for their continuing support of IDC.
Avec nos remerciements aux membres de l’industrie pour leur soutien continu aux IDC.
IDC/IIDEX partners
InterfaceFLOR
Nienkamper Furniture and Accessories Inc.
DIRTT Environmental Solutions Ltd.
INSCAPE
Tayco Panelink Ltd.
Teknion Furniture Systems Ltd.
IDC print partner
Astley Gilbert
IDC/IIDEX national
Bentley Prince Street
IDC national
Steelcase Canada Ltd.
Tandus (Monterey, C&A, Crossley)
IDC regional
Haworth Ltd.
Shaw Contract Group
IDC provincial
American Standard Brands
Beaulieu Commercial
Benjamin Moore & Co. Ltd.
Brigholme Interiors Group
Crown Wallpaper + Fabrics
Dauphin North America
Four Seasons Hotels and Resorts
Mabe Canada (GE Monogram)
MARANT Construction Ltd.
Miele Limited
Odyssey Wallcoverings
IDC local
12 | 12 Decor Inc.
360 Living Inc.
Abet Corp.
Allsteel
Altro Floor and Wall Systems
AMTICO International Inc.
Applied Electronics Ltd.
Archer Construction Group Ltd.
ARCONAS
ARTOPEX
Automated Interiors
Avenue Road
AYA Kitchens and Baths Ltd
Barrymore Furniture Inc.
Bennett Mills Agency
Berenson Inc.
Blum Canada Ltd.
Brack Electronics
Brunswick Manufacturing Co. Ltd.
Business Interiors by Stapels
California Closets
Cambria Natural Quartz Surfaces
Canadian Contract Leathers Inc.
Carpenters Union, Local 27
CAS Interiors Inc
CF + D | custom fireplace design
Ciot Marble & Granite Inc.
Click Lighting and Home
Cohen & Cohen Full-Line Office Interiors
Connect Resource Managers & Planners Inc.
Contract Supply Corp. Ltd.
Convenience Group Inc.
Cooper Bros. International
Coopertech Signs and Graphics
Coreplan Construction Inc.
Crate and Barrel Canada
Cubo Design Inc.
Custom Closet Organizers/Shelving Outlet
Decorium
DEKA Patio Cushions & Umbrellas
Design Exchange
Doctor TouchUp
Dominion Rug Sales Ltd.
DPI Construction Management
Drechsel Business Interiors
DWMartin Construction
ECO HARVEST WOOD COMPANY
Envirotech Office Systems Inc.
European Hardwood Flooring Centre
Fendi Casa, Canada
Floor Coverings International
fluidconcepts
Flux Lighting Inc.
Forbo Linoleum Inc.
Fountain Creations Inc
Gallery 133
Geovin Furniture Inc.
Go Resilient Canada
Grand & Toy
Grohe Canada Inc.
Hardwoods Specialty Products
Herman Miller Canada Inc.
High Point Market Authority
Holmes & Brakel
I. C. I. Paints Canada Inc.
Interna Furniture Design Ltd.
INVISTA/Antron Carpet Fiber
J+J/Invision
Johnson’s Business Interiors
Jump I.T.
Leber Rubes Inc.
Louis Interiors Inc.
LSD Lighting Limited
LSI Floors
Luxo Lamp Ltd.
MacCormack & Sons Ltd.
Magnum Opus
Maharam
Mannington Commercial
Marble Trend Ltd.
Meadowbrook Construction Inc.
Metro Wallcoverings Inc.
Missoni Home Canada
MOEN INC.
M-Tec. Inc.
Office Source Inc.
OLON Industries
Olympia Tile International Inc.
Optimal Performance Consultants
Orion Hardware Corporation
Para/General Paints
Partition Components Inc.
Paytrak Payroll Services
PI Fine Art/ Posters International
POI Business Interiors
Prima Lighting
Pro Source Wholesale Floor Coverings Toronto
Prolific Marketing Inc.
Rae Brothers Ltd.
Reid & Lyons
Renovations By Gray
RHB Enterprises Inc.
Robert Allen Fabrics Canada
Rodgers Wall Materials Inc.
Roman Bath Centre
Roman Bath Centre
Roya Manufacturing & Supply Canada Inc.
Royal Lighting
Savoia Canada Inc.
SCI Interiors Ltd.
Shurway Contracting Ltd.
Silk and Style By Dann Imports - 707585
Ontario Limited
Silverwood Flooring
Smart-Tech Systems Ltd.
Smitten Creative Boutique
SOFA, Source of Furniture and Accessories
Sound Solutions 1997 Inc.
Stonequest Inc.
Suite22 Interiors
Sun Glow Window Covering
Products of Canada Ltd.
SunProject Toro Inc.
Taps Bath Centre
The floor studio inc.
The Gallery on the Lake Inc.
The Sullivan Source Inc.
Threadcount Textile & Design
Three H. Furniture Systems
TORLYS Inc.
Turco-Persian Rug Co. Ltd.
Tusch Seating Inc.
Urban Amish Interiors
Vandyk Commercial Co. Ltd.
Videoscope
W Studio Ltd.
Weavers Rug Gallery
Whittington Furniture Mfg.
Wilsonart Canada
Workscape Interiors Ltd.
Your Home Custom A/V Systems
*As of November 18, 2010
InTeRIoR DeSIGneRS of CAnADA
C536–43 Hanna Avenue
Toronto on M6K 1X1
t 416.649.4425
tf 877.443.4425
f 416.921.3660
e [email protected]
w www.idcanada.org
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volume 1, 2011
www.idcanada.org
SAVE THE DATE
FOR THREE DAYS
OF GREAT DESIGN
InterIor DesIgners of canaDa Presents
IIDeX/neocon canaDa
canaDa’s natIonal
DesIgn eXPo & conference
eXPosItIon
sePtember 22 – 23, 2011
conference
sePtember 22 – 24, 2011
DIRECT ENERGY CENTRE, TORONTO
The Goods
Bathing
beauties
1—ÀPRES-SKI
The Tranquility line from Graff brings
a light Asian influence to the bath
environment. Its Thermostatic Ski
Shower system – complete with
directional flush-mounted body
sprays – includes a full eight-inchsquare showerhead with ¾-inch
thermostatic valve mounted on a
ski-shaped shower panel. Available in
polished chrome and Steelnox satin
nickel finishes. graff-faucets.com
Hot and cold
running style
—By Michael Totzke
1
2—NO TANKS
Caroma’s Invisi Series II toilets – wall
hung and wall faced – make tanks
disappear. With the tank and flushvalve mechanism smartly hidden
within the wall (between the studs),
each toilet maximizes bathroom floor
space. Like all Caroma toilets, Invisi
Series II models are dual-flush, using
less water. aromausa.com
2
3—ALL-CANADIAN
Firma is an award-winning Canadian
company dedicated to the innovative
design and manufacture of bath
furniture. Infra (shown) comprises a
one-drawer vanity with walnut satin
finish, topped with white crystal; and
a column of textured oak in a graphite-grey stain finish, with a touch
door and adjustable glass shelves.
4
fermabathfurniture.com
4—MINIMALISM
The Absolutely Minimal line from
Hastings Tile & Bath takes thinness
to a new level. These basins use a
horizontal siphon, which allows the
drain – including the trap – to be
completely hidden. Shown here is the
oval front basin with integrated towel
rack, constructed of Corian.
hastingstilebath.com
3
PuraVida
©2010 Hansgrohe, Inc.
Discover pure life for the bathroom
PuraVida. Poetic purity and clarity of form defines the latest Hansgrohe collection. PuraVida, which translates to “pure life”, is the design
inspiration from Phoenix Design that reflects harmony, balance and emotion. Experience PuraVida and discover pure life for the bathroom.
Please visit www.hansgrohe.ca to view the entire collection.
The Goods
1—Total recall
Morphing is a new collection created
by Italian designers and architects
Ludovia+Roberto Palomba for
Kos. Sculptural and sophisticated,
Morphing recalls – and reinvents –
the classic shapes of bathtubs,
washbasins and cabinets ingrained
in our memories. Shown here is the
freestanding tub made of Cristalplant.
2
kositalia.com
2—CURVES AHEAD
With a sleek profile and soft curves,
Kohler’s Loure collection of faucets
offers a sensual flow of water with
precise temperature and volume
control. Including lavatory faucets,
pressure-balancing, and thermostatic
shower components and bath fillers,
Loure comes in polished chrome,
brushed nickel and polished nickel.
1
kohler.com
3—MOONGLOW
Toto’s Neorest II Vessel Sink was
inspired by the small pool melting
snow carves into a sheet of ice.
Crafted from Luminist (Toto’s
proprietary hybrid epoxy resin), the
basin radiates with soft illumination
from an embedded LED light.
The Neorest II high-efficiency faucet
was inspired by a sword’s blade of
steel; super slim, it has no joints.
3
totousa.com
4—NOW YOU SEE IT
Metropolis, a new collection of
faucetry, bath fixtures and accessories
from French company THG Style,
offers an update on deco. Squareshaped metal handles reveal Lalique
crystal insets. The ultramodern Urban
Bathtub features a transparent curved
opening intended to reveal the body in
its true relaxed form. thgstyle.com
4
Home Fires
Rooms with a view
Located on an acre of land along the Red River on the southern
outskirts of Winnipeg, a playful family home celebrates the
prairie landscape.
—By Rhys Phillips
20 CANADIAN INTERIORS JANUARY/FEBRUARY 2011
Photography by Dan Harper
From opposite left Within
the protected arms of the
U-shaped house facing
away from the river, a
bridge stretches across
the courtyard “moat” to
a front entrance signalled
by a tall, slim volume
that reaches across the
house; the glistening
white kitchen features
foil-covered cabinets
and quartz countertops; a
short stair descends to the
1 ½-storey living room,
its fully glazed wall
confronting the river.
In the early 20th century, the young
Turks of Modernism embraced Frank
Lloyd Wright’s renowned portfolio with
its flowing use of space countering the
limitations of discrete rooms. Their
affection was not returned and their
initial admiration largely evaporated.
Superficially, it was the great American
master’s commitment to – as Alfred Loos
put it in his famous manifesto – “the crime
of decoration” that separated the two
schools. At a more profound level, however, it was Wright’s understanding that
successful architecture must respond to a
location’s sense of place, its genius loci,
rather than some universal zeitgeist that
divorces design from the here and present
that separated the two schools. Not all
Modernists succumbed to Modernism’s
limiting ideologies. Most notably,
Finland’s Alvar Aalto drew back after his
much admired Bauhaus-influenced Paimio
Sanatorium and went on to produce such
wonderfully contextual work as the Villa
Maria. If postmodernism contributed one
thing, it was to lead many Modernists
back to the idea that all great architecture
is first regional architecture.
Architects Johanna Hurme and Sasa
Radulovic, founding principals of the
exciting new Winnipeg firm of 5468796
Architecture (2007), were both trained at
the University of Manitoba’s School of
Architecture where a strong environmental
design base continues to dominate. (One
wonders if Manitoba novelist Gabriel Roy’s
powerful and unsentimental invocation of
the influence of the prairie landscape on
people’s lives continues to influence.)
Hurme, however, was also born and raised
in the architectural hothouse that is
Finland and spent a year as a teenager on a
Manitoba prairie farm before attending
university. In contrast, Radulovic grew up
in Sarajevo with its many competing and
expressive vernacular styles. Their awardwinning Boheimer residence, designed
while both were with Cohlmeyer Architecture Ltd., is located on an acre of land
along the Red River on the southern
outskirts of Winnipeg. It employs a lively
play of forms, maximized engagement of
its interior with the surrounding environment, a commitment to the play of natural
light, an attention to materiality and a
complexity of interior spaces – creating a
highly functional but almost playful family
home intricately suited to its prairie
landscape setting.
The architects, with Hurme as the
partner-in-charge, started with an existing
but much-altered 1920s house and a
thorough distillation of how the clients
and their two young children conduct
their lives. An initial reworking of the
in-situ house resulted in an oversized
block that soon gave way to a cheeky
reversal in form. The original house was
dismantled except for its foundation,
which became the walls of a sunken
courtyard – Radulovic calls it the “ghost
house” – around which was wrapped three
new wings. The exposed concrete of the
courtyard walls also serves as a barrier
that permitted both the adapted reuse of
the old basement and the construction of
a new lower-level family room, both below
the flood plane. Each wing is a unique and
animated volume clad in almost black
hardboard and powdercoated aluminum
siding that contrasts strikingly with
deeply protruding eaves and window
frames of rich, clear stained fir.
Within the protected arms of the
U-shaped house facing away from the
river, a bridge stretches across the
courtyard “moat” to a front entrance
signaled by a tall, very slim volume that
reaches across the house. Perhaps as
Norwegian theorist Christian NorbergSchutz has observed about similar vertical
elements in Finnish architecture, its
height makes present that which is absent
in a flat landscape. Once through the door,
a narrow but soaring space acts to
visually telescope attention directly to the
river. Again, as Norberg-Schutz has
written, in flat geography with limited
features, a river often acts as a powerful
edge that helps define one’s placement in
the landscape. Thus, how the house
unfolds is designed to ensure the river’s
shore is frequently framed and almost
always a visible, orientating datum.
At the point of entry, one is on the
lowest level of the house’s primary floor.
To the right, up a half flight of stairs, is
the parents’ deftly privatized bedroom
wing. To the left is the 1 ½-storey living
room with a fully glazed wall confronting
the Red. On the living room’s far side is a
half wall of black powdercoated aluminum that frames a minimalist fireplace
but is also cleaved by another short stair.
These stairs ascend to a glistening white
kitchen of foil-covered cabinets and
quartz countertops. Off the kitchen,
additional spatial complexity is added by
the treatment of the remaining three-storey children’s wing. Two bridges span a
double-height void that drops down to the
below-ground courtyard level. One bridge
slips across in front of the massive glazed
wall separating the lower family room
from the exterior courtyard (which not
incidentally also acts as a safe enclosed
play area for the children) and terminates
at the door to the garage. On the house’s
outer wall, the second bridge, a narrow
mezzanine, starts with stairs ascending to
the third level’s two bedrooms and a play
area and leads to stairs descending to the
family room.
The interconnected complexity of the
interior creates open flowing spaces, both
horizontally and vertically. Visual sightlines are multiple and varied. This
includes views through the house and
outside to the river, the gently undulating
prairie landscape, and the retained mature
oaks, maples and conifers. In addition,
there are views that cross the exterior
courtyard and then back into other areas
of the residence. In addition to generous
glazing, minimalist interior detailing
helps maximize this transparency. A
series of clear acrylic shelving units on
the interior bridges as well as the unadorned glass sheets for stair rails are
particularly effective in sustaining this
intended character.
At the same time, there are also both
subtle and strong contrasts in tones,
materials and texture. The house’s predominately white walls, washed by strong
prairie light or from primarily recessed
lighting – as well as its polished concrete
floors in the living and family rooms – are
neutral in colour. The fir widow frames and
baseboards, along with the strongly
grained poplar floors, however, add rich
hues and high-textured grains.
In the end, says Hurme, it is the
ever-changing exterior landscape that
provides the visual punchlines for the
home’s interiors. Yet, if the house is
expansive in its almost single-minded
embrace of the exterior, the controlled
sizes of the different domestic spaces also
ensures what Radulovic calls a “cocooning” sense of intimacy within a “cozy”
scale. The house demands that you live
with a constant awareness of the sometimes harsh prairie landscape, but it also
offers equally a fine retreat for the
engagement of family life. c I
Tktk Tktk
Counterclockwise from
opposite left Glimpsed
at bottom left is the
lower-level family room,
facing the sunken
courtyard; a bridge slips
across in front of the family
room’s glazed wall; a
second bridge, a narrow
mezzanine, leads to stairs
descending to the family
room; one of two children’s
bedrooms, which contain
the house’s only coloured
walls; a clear view of the
exterior bridge over the
“moat,” with a glimpse of
the master bedroom at
right; a floor of strongly
grained poplar graces the
master bedroom.
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Home Fires
A light touch
Architectural firm Reigo and Bauer
lightens and brightens a Toronto semi.
—By David Steiner
c.
y.
11 10:56 AM
Photography by Tom Arban
JANUARY/FEBRUARY 2011 CANADIAN INTERIORS 25
Merike Reigo and Stephen Bauer, principals of a young architectural practice,
were invited by a couple they’d never met,
to see a house for sale, 30 minutes before
the showing. The couple had heard about
Reigo and Bauer’s residential projects,
hired them on and proceeded to buy the
second house they saw: a three-storey
semi-detached home in midtown Toronto.
Accustomed to condominium living, they
wanted to replace the dated 1970s interior
with something bright and contemporary.
Overleaf The railings of the
three-storey staircase were rebuilt
as a continuous low wall that
winds its way up the house.
Below left and right On the
main floor, partial walls and
floor-to-ceiling millwork keep
the various living spaces distinct
and physically separate while
retaining an open feeling.
Two weeks after the property closed,
construction started.
The house is basically a long shoebox
with a 65-foot party wall to the east side
and a narrow passageway to the west,
allowing in minimal light. As a result, only
the front and back are open, leaving the
owners desperate to get as much sunlight
from the two ends of the house as possible.
Reigo and Bauer focussed on the main
living space (situated one level above
grade due to a steeply sloping site) and
the master bedroom, with smaller work –
new trim, paint, doors, windows, fixtures
and furniture – throughout the home.
Demolition occurred in select locations,
preserving the existing structure wherever
possible. Curved corners, ubiquitous in
the original main level, were removed or
straightened. All the washrooms were
either rebuilt or updated with new
fixtures, and the railings of the three-storey staircase were rebuilt as a continuous
low wall that winds its way up the house.
The client required the formal dining
room and kitchen to be out of view rather
than part of an open-plan space. Clever
placement of partial walls and floor-toceiling millwork on the main floor keep
the various spaces distinct and physically
separate while retaining an open feeling.
At certain spots you can see across the
length of the floor plate, making the house
feel spacious without exposing the
contents of every room.
A 3.5-foot-long wall, detached at both
ends and wrapped in a pinstriped,
silver-flecked wallpaper, stands at the
south end of the dining room, creating privacy from the entry hall. A 10-inch slot
provides a slivered view to the front door.
Between the living room and dining room
is a 40-inch-wide piece of millwork that
extends up to the ceiling; clad front and
back in a black veneer with a heavy
wood-grain pattern, it conceals a bar. “It is
meant to feel like a freestanding object in
space,” says Merike Reigo. When open,
drinks flow to both the living room and
dining room; when closed there is just
enough solid surface to make the dining
area private while still allowing light to
filter around.
Flat white is the principal colour used
throughout. “It helps immensely to
brighten the space,” says Stephen Bauer,
who adds that it acts as a counterpoint
to the new mahogany windows and the
oil-finished, thermally treated ash wood
floors. Upper and lower kitchen cabinets
Above Upper and lower kitchen cabinets are
covered in a white laminate with a matte
finish so flat they appear to be made
of paper. Below In the master bedroom,
floor-to-ceiling millwork holds a TV and
hides an abundance of clothing.
are also covered in a white laminate with
a matte finish so flat they appear to be
made of paper. The arctic palette continues up the wall of the staircase and along
the hallways, extending into the rooms of
the second floor.
Asked to select much of the home’s
furnishings, Reigo and Bauer chose items
that are luscious without being flashy.
With a deliberate bit of drama they
contrasted contemporary surfaces with
classic home wear: in the master bed-
room a Boss Bed from Palazzetti, with its
dark leather tufted headboard, sits in
front of a wall covered in a damask-patterned wallpaper that seems to give off a
gentle pulse. Snaking around two walls
of the room are 22 linear feet of custombuilt floor-to-ceiling millwork, in flat
white, holding a TV and hiding an
abundance of clothing. A Smoked Chair,
by Maarten Baas (fabrication includes
burning the frame to increase its texture), rests off in the corner.
Just enough of the existing house was
sliced away to increase its feeling of
spaciousness while retaining the original
character. Many bold patterned surfaces,
new bits of wall, elegant millwork and
furniture – all expertly crafted – add up to
a brash, bright interior that is at once
clever and fun without compromising a
drop of the home’s intended function. c I
Four from the floor
Inspiring design from a quartet
of exhibits at Feria Habitat Valencia.
—By Erin Donnelly
Glob and Tag It! are
two bright ideas from
Ham & Cheese Design.
Glob is a cuddly stuffed
toy whose face lights
up when squeezed,
doubling as nightlight.
Tag It! is a simple little
notepad for scribbling
quick notes.
tastydesignstudio.com
NUDE
Shkon by Dicrein features an internal mechanism that allows an oscillating movement of
the padded leather seat. Once positioned as
desired, the spidery stainless steel legs hold it
in place, until the user wishes to adjust again.
dicrein.es
It’s long been evident to Canadian
Interiors that the highlight of Spain’s
Feria Habitat Valencia furniture fair is
always sure to be the Nude section.
Exhibiting works from new designers
and manufacturers, Nude has grown
steadily in the eight years since its
inception; for the show’s 2010 edition,
the fair finally had the presence of mind
to put it front and centre. Literally
opening the show, Nude was bigger and
better than ever, and greeted visitors just
inside the main entrance. As if this prime
position wasn’t enough for an exhibit
that is used to being tucked at the back
of a room, from there it rolled right out
the door and into the city. Hotel Nude,
hosted at the Purple Nest Hostel – centrally located at Plaza Tetuán 5 – was an
offsite attraction that featured works
shown in years past, in installation
settings. A further initiative, which was
prompted by Hotel Nude, is City Nude, a
route around the streets of Valencia
focussing on design.
COSAS
Of course Nude couldn’t have all the
attention to itself. No design show is
complete without a design star and
Valencia had one of the brightest this year
in Patricia Urquiola. The Spanish-born
designer created a special exhibit called
Cosas (translation: Things) for this year’s
show. The space incorporated many of her
well-known works for such manufacturers
as B&B Italia, Alessi, Molteni, Viccarbe,
Kettel, Gandia Blasco and Moroso.
A rotating mobile of prototypes and
models used in the construction of her
designs took up a full of half of Cosas. The
various pieces were in paper, staples,
foam, bent wire, stitched felt, taped
cardboard and even something that looked
like a stuffed sweater – all of it jimmyrigged to form shapes in which a variety
of iconic designs could easily be recognized as they floated by on the conveyor
belt of creativity.
I understood about three words of
Urquiola’s speech. Her enthusiasm
however, needed no translation.
Vig and Joe & Averell are both from Estres Studio. Vig is a classic
woodwork table that folds completely flat for storage, while Joe &
Averell are the first two lamps in a whimsical series that pays homage
to the Dalton Brothers, of the Lucky Luke comics. estudioestres.com
A reversible chair/table/shelf from Aal Cuadrado’s 90° line
of products. aalcuadradoestudio.blogspot.com
Patricia Urquiola’s Cosas exhibit
incorporated many of the Spanish
designer’s celebrated works.
JANUARY/FEBRUARY 2011 CANADIAN INTERIORS 31
From A la Mesa’s “Buying”
section, Herb-savor,
from Prepara. prepara.com
A LA MESA!
DISEÑO Y COMIDA & LIFESTYLES
International Kitchen Design won’t be
featured at the show again until next year,
but some kitchen stuff was still on the
menu and two related feature exhibits
caught my eye. A la Mesa! Diseño y
comida (that’s “Dinner is Served! Design
and Food”) was divided into three sections: Buying, Preparing and Serving, and
featured a variety of products that fit into
each of those categories. The exhibit was
“set up on several tables, tables being the
object upon which and the place where we
eat, talk, write and make plans. The table
is perhaps the link between design and
food,” said curator Martín Azúa.
The show’s Lifestyles exhibition was
created to show four lifestyles that typify
the “Made in Spain” concept: Traditional
or Home Loving, Simple or Easy Living,
Consumerist or Cool Hunter, and Personal
Fulfilment or Sophisticated. The whole
proposition is presented in vignettes
created by leading architecture and design
practices. Estudihac represented the Cool
Hunter lifestyle and La Salamandra the
Sophisticated lifestyle; Enproyecto took on
Home Loving and Yonoh Estudios Creativos presented Easy Living. The concept
was intended as a toll for exhibitors and
visitors alike – for the companies showing
their products the exhibit was as an
example of how to promote the intangible
values of design, while for visitors it
showcased the creativity and variety of
Spanish design.
La Salamandra’s “Sophisticated” and Yonoh Estudios Creativos’ “Easy Living.”
From “Preparing,”
mesh bag and silicone
steaming case, both
designed by Luki Huber
lukihuber.com
From “Serving,” Lladró’s porcelain
Equus collection, designed by Bodo
Sperlein in collaboration with the
company. lladro.com
14
Announcing The
14th annual Best of Canada Design Competition
Be part of the country’s only design competition to focus on interior design
projects and products without regard to size, budget or location.
For information and entry form, visit canadianinteriors.com
INTERIORS
Official publication of the Interior Designers of Canada
Who’s Who
DX GALA
It must be a hip event, because the
crowd at the Design Exchange’s
annual fall Black & White Fundraising Gala keeps getting younger.
Or are we just getting older?
1
1—Inspired oversized ice chandeliers by Ice
Culture Inc. worked their magic.
2—Cheryl Sheridan, Reptilia Zoo educator,
wrangles a nine-foot Burmese python for a brave
Jeanette Williams, general manager at marketing
firm Onbrand Design.
3—Julia Rosen-Rosen, healthcare director,
Brigholme Interiors Group; Frank Tan, account
executive, SCI Interiors; Jennie Hobin, designer,
Kasian; and Tim Au-Yeung, A&D rep, Humanscale.
4—Make-up artist Neil Schmidt and partner,
fashion designer Lucian Matis (wearing his own
pyramid-studded shirt, with Toronto elementary
school teacher Misel Cimpric.
2
3
4
1
Seasonal
soirées
—By David Lasker
1
2
GLOBAL PARTY
Global Group held its A&D
preview–cum–seasonal social at
the Steam Whistle Brewery in the
restored and renovated former
Railway Lands roundhouse at the
foot of the CN Tower. Global
family-founder Feldbergs were out
in force.
3
1—Janice Feldberg, lawyer at property
developer Milestone Group; her mother (and
wife of Saul), Toby; and Jeff Kohl, account
manager, Global.
2—Harvey Lamb, director, business development, Global Group, with spouses Allan and
Marg Skinner, president and VP at furniture
dealer Office Source.
3—Global’s Ray Townsley, senior VP, government
affairs and strategic markets; Saul Feldberg,
company founder and chairman; Helen Stergiou,
partner, Office Shop; Saul’s son, Global
president and COO Joel Feldberg; and Office
Shop partner Joanne Triantafilou.
2
3
IDC/IIDA LEADERS BREAKFAST
The Regency ballroom at the Four Seasons
hosted the IDC/IIDA (Interior Designers of Canada/
International Interior Design Association) Leaders
Breakfast. Any sleepyheads in attendance were
thoroughly awakened by the risqué keynote address
by Paul Lavoie, chairman of ad agency Taxi.
1—Building code guru and guest of honour Leszek (“Les”) Muniak,
founding principal, Larden Muniak Consulting, and his wife, Eva, flank
interior designer Alison Logue, principal, Vitamin-D Design.
2—Areti Carter, senior sales rep, Knoll; Veronica Liu, designer, and
Milena Milicevic, associate, IBI Group; and Greg Rapier, Knoll Group
regional manager, Canada.
3—Theo West-Parks, president of ARIDO and of Westparks and
Associates; and Canadian Interiors editor Michael Totzke.
January/February 2011 CANADIAN INTERIORS 35
Who’s Who
1
DX AWARDS
2
The Design Exchange Awards honoured an enticing mix of
usual-suspect design stars and budding young geniuses, and
provided a delectable supper, sponsored by En Ville catering.
1—Burdifilek’s Sonia Germain, marketing and business development head, with
creative director and partner Diego Burdi.
2—An array of “principal” architects, with DX president and CEO Samantha Sannella (at
right): Meg Graham, Superkul; Stephen Teeple, Teeple Architects; and Barry Sampson,
Baird Sampson Neuert.
3—All the gang – from interior design firm Munge Leung – is here: Sarah Tremblay,
junior designer; Jung Paric, intermediate designer; Alessandro Munge and Sai Leung,
partners; Cy Lam, intermediate designer; and Mirella Munge, controller.
4—Telus Tower design-team members: John Gillanders, SSF&Co Architects; Doug
Hitchcox, Cushman Wakefield; Guy Belanger and Gary Handley, Menkes Developments;
Trish Clarry, Telus; and SSF&CO partner Dermot Sweeney.
3
4
1
JOY TU THE WORLD
A not-so-silent night, hosted by the
Interior Designers of Alberta and TU
Gallery, gathered together the design
industry, including suppliers, designers
and consultants, to ring in the holiday
season. (Photos by Donna Assaly)
1—Dafne MacLeod and Bridgette Jarosch, interior
designers, Hodgson Schilf Architects and Engineers;
Chris Onishi, contract specialist, Shaw Industries;
Katherine Fischgrund, interior designer, Urban Design
Interiors.
2—Simon Bell, contract sales agent, Christopher Carpets;
Michele Rumbold, interior designer; Adam Sarnecki,
contract sales agent, Christopher Carpets; and Michele
Roach, principal, Wolski Design Group.
3—Celeste Thiesen, contract specialist, Shaw Industries;
Laurie Snider, principal, Edgewise Design; and Laura C.
Bielecki, interior designer, Kasian.
2
3
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BISSONNET
Space saving solutions for the modern
bathroom. BISSONNET offers a wide range
of bathroom sinks, vanities and decorative
plumbing products that are aesthetically
pleasing and functionally relevant to today’s
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Grohe
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Hansgrohe - Masco
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To book your space in the Professional Directory please contact Martin Spreer at [email protected] 416-510-6766
January/February 2011 CANADIAN INTERIORS 37
L Word
Last
From left The original; the recreation; the result.
If these walls could talk
recreating period wallpaper at Toronto’s
historic Spadina House.
—by David Steiner
How do you recreate a heavy-tooth,
multi-toned wallpaper, produced a century
ago, by a process no longer practised in
north america? neil brochu, a museum
curator for the city of Toronto, was
confronted with this task when the
original restoration of the Spadina House
museum was recently updated. First built
in 1866, the mansion was added to by
successive generations of austins, a
wealthy Toronto business family. after
being bought by the city from a family
heir in 1984, the house opened to the
public as a museum.
Spadina House underwent an interior
restoration last year to recreate its
appearance in the inter-war era. The most
important transformation was getting the
wallcoverings to accurately depict the
period. brochu chose nine rooms where
the wallpaper needed to be recreated.
each room has a separate wallpaper
pattern and colour, some simple and
others remarkably complex. eight were
recreated by digitally printing reproductions from original wallpaper remnants.
38 CanaDIan INTERIORS January/February 2011
For the drawing room – the home’s
principal public space – the wallpaper
was produced as it would originally have
been made, by stamping coloured patterns
onto a heavily grained coloured paper.
The original drawing room wallpaper
– discovered in a previous renovation
behind successive layers of wallcoverings
– was originally documented by curators
as “flocked,” a process where a paper
surface gains texture by adhering wool
fibres with glue. Doubting the diagnosis,
brochu checked with powers that be at
Cooper Hewitt, national Design Museum,
in new york City. examining a roll of the
original wallpaper in their collection,
they agreed with brochu’s hunch that it
was an “ingrain” paper, a process where a
fibrous cotton or wool paper is dyed the
final background colour and then overprinted in successive layers to build up
colour patterns.
adelphi Paper Hangings from new york
State was the only company among the
many brochu called that was interested in
recreating the original production method.
adelphi sourced a neutral-toned custom
paper from Saint armand Papermakers in
Montreal; the paper was dyed with four
layers of wash to match the original green
background. a Toronto graphic designer
split the design pattern into its three
separate colour components. each
component was then laser cut into an
individual wood block. adelphi placed one
block in their press at a time, inked it and
stamped the primed paper, leaving slight
inconsistencies when the wood pulled
away from the paper surface, mimicking
the original hand-blocked texture.
The effort taken to get the wallpaper to
look true to its time and technique have
paid off: when the final product is
examined, either mounted on the wall or
over a curator’s table, it appears as
genuine as the original. c I
Photos by Maciek Linowski / Synthescape Inc.
30 eminent Canadian design houses
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Home fires - The Textile Museum of Canada launches "Watercolour"

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